Thesis Chapters by Sergio Pamies
There are certain recordings by important artists such as Lionel Hampton, Miles Davis,
John Coltr... more There are certain recordings by important artists such as Lionel Hampton, Miles Davis,
John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been
associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be
better understood in order to clarify its history, its identity, and its impact on recent
developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the
existing literature on flamenco jazz on the evaluation of these recordings and these artists’
achievements and contributions to this field. These writings encompass authors from different
backgrounds: journalists, critics, and musicologists, who have approached their analysis of the
recordings from different perspectives. The differences in professional backgrounds, approaches,
and purpose of the writings of these authors has resulted in controversy about this label.
Therefore, the flamenco jazz scholarly conversation needs more objective writings from an
analytical point of view. This historiographical study presents a more comprehensive evaluation
of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These
analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these
artists went through when combining musical elements from flamenco and jazz, which in some
cases are described as creative misreading. In this century of cultural globalization, where jazz
has become a diverse expression of world music because of its capacity to absorb traits from
other musical practices, this study can be a resource for international jazz musicians who are
seeking to combine jazz with their musical cultural heritage.
Papers by Sergio Pamies
Jazz-hitz, 2024
Algunas producciones de artistas como Miles Davis, John Coltrane, Pedro Iturralde, Paco de Lucía,... more Algunas producciones de artistas como Miles Davis, John Coltrane, Pedro Iturralde, Paco de Lucía, Chick Corea, Jorge Pardo, o Chano Domínguez, entre otros, han sido tratadas bajo la etiqueta flamenco jazz o jazz flamenco. Publicaciones recientes como las de Peter Manuel, Juan Zagalaz, o Sergio Pamies, han aportado nuevos argumentos a través del análisis musical que han ayudado a clarificar algunos de los elementos que esta música toma tanto del flamenco como del jazz. Sin embargo, el flamenco jazz creado por artistas con raíces estrictamente flamencas y de una generación posterior a Paco de Lucía, como Diego Amador, aún precisa ser estudiado. Los análisis armónicos, rítmicos, formales, tímbricos y de técnicas de instrumentación empleados por Diego Amador desde la década de los 90 hasta hoy, no solamente esclarecen las contribuciones de este artista al flamenco jazz, sino que explican cómo los elementos que toma prestados del jazz afianzan su personalidad flamenca y su visión única trasladando el flamenco al piano.
Jazz Education in Research and Practice, 2022
The study of jazz improvisation in an academic setting is a complex practice that encompasses in-... more The study of jazz improvisation in an academic setting is a complex practice that encompasses in-depth training in various topics such as: rhythm, melody, harmony, aural skills, stylistic awareness, communication skills, spontaneous decision-making processes, technical ability on the instrument, and a capacity to use memory in different ways. Therefore, curriculum for jazz improvisation must be the subject of constant and thorough revision in order to optimize its intended result. This study combines theoretical and practice-based methods to be utilized for teaching advanced jazz improvisation. Jazz educators are responsible for creating an experimental environment that conveys the importance of maintaining the jazz tradition while encouraging current musical exploration. The author offers suggestions on how to use the recordings of jazz masters effectively, combining non-academic and academic approaches that provide the student an opportunity to grow through the process of self-discovery.
There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltr... more There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucia, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this field. These writings encompass authors from different backgrounds: journalists, critics, and musicologists, who have approached their analysis of the recordings from different perspectives. The differences in professional backgrounds, approaches, and purpose of the writings of these authors has resulted in controversy about this label. Therefore, the flamenco jazz scholarly conversation needs more objective writings from an analytical point of view. This historiographical study presents a more comprehensive evaluation of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these artists went through when combining musical elements from flamenco and jazz, which in some cases are described as creative misreading. In this century of cultural globalization, where jazz has become a diverse expression of world music because of its capacity to absorb traits from other musical practices, this study can be a resource for international jazz musicians who are seeking to combine jazz with their musical cultural heritage.
Jazz-hitz, 2022
Some of Thelonious Monk’s compositions are notoriously problematic for the improviser. His use of... more Some of Thelonious Monk’s compositions are notoriously problematic for the improviser. His use of unconventional harmonic movements and unique voicings make them difficult to accurately encapsulate in the 32-bar lead sheet format often used in jazz education. This article provides an in-depth study of the harmony in “Well, You Needn’t” and some strategies that jazz masters such as Monk, John Coltrane, Ray Copeland, Gigi Gryce, Coleman Hawkins, Miles Davis, Horace Silver, Wilbur Ware, and Paul Chambers have used to improvise on it with a creative approach. The transcriptions and analyses in this research reveal a pragmatic approach to Monk’s music that provides the improviser with more tools to overcome harmonic challenges.
Jazz Education in Research and Practice, Vol. 2, No. 1 (Spring 2021), pp. 76-105 (30 pages), 2021
This study examines the relation between Claude Debussy's harmonic and melodic techniques and tho... more This study examines the relation between Claude Debussy's harmonic and melodic techniques and those of post-bop jazz pianists through the analysis of selected piano pieces and transcriptions of important recordings that helped establish new aesthetics in jazz during the late fifties and early sixties. Similarities between Debussy's modal techniques and hallmark traits of post-bop jazz harmony are discovered within the contributions that Bill Evans, Herbie Hancock, and McCoy Tyner made to Miles Davis's and John Coltrane's small groups. The analysis presented in this article is intended to serve as a model on how jazz research can develop into pedagogical tools for jazz educators and performers aspiring to reach new levels of sophistication in their playing.
Jazz-hitz, no. 4, pp. 11–41., 2021
Abstract
Jazz critics, musicians, and educators have praised the artistry of pianist Wynton Kell... more Abstract
Jazz critics, musicians, and educators have praised the artistry of pianist Wynton Kelly unanimously. However, Kelly’s stylistic traits are yet to receive a diligent and thorough study in an academic setting. This article examines Kelly’s abilities for soloing, comping, as well as rhythm section interplay through transcription and analysis. The results of this research have pedagogical significance for jazz pianists, guiding their study of this artist and ultimately strengthening their abilities as sidemen.
Resumen
Wynton Kelly: un modelo como improvisador, acompañante y de interacción en la sección rítmica.
La figura del pianista Wynton Kelly ha sido alabada por críticos, músicos y docentes de jazz por unanimidad. Sin embargo, los rasgos estilísticos de Kelly aún no han sido objeto de un estudio exhaustivo en el ámbito académico. Este artículo examina las habilidades de Kelly como improvisador, acompañante, así como su capacidad de interacción en la sección rítmica a través de transcripciones y análisis. Los resultados de esta investigación tienen un significado pedagógico para pianistas de jazz, orientando su estudio de este artista, y en última instancia, fortaleciendo sus habilidades como acompañantes.
Book Reviews by Sergio Pamies
Jazz Education in Research and Practice, 2023
This is Sergio Pamies' review of Playing Solo Jazz Piano
By Jeremy Siskind
Fullerton, CA: Jeremy... more This is Sergio Pamies' review of Playing Solo Jazz Piano
By Jeremy Siskind
Fullerton, CA: Jeremy Siskind Music Publishing, 2020.
Jazz Education in Research and Practice, 2022
This is Sergio Pamies' review of Experiencing Chick Corea: A Listener Companion, by Monika Herzig.
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Thesis Chapters by Sergio Pamies
John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been
associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be
better understood in order to clarify its history, its identity, and its impact on recent
developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the
existing literature on flamenco jazz on the evaluation of these recordings and these artists’
achievements and contributions to this field. These writings encompass authors from different
backgrounds: journalists, critics, and musicologists, who have approached their analysis of the
recordings from different perspectives. The differences in professional backgrounds, approaches,
and purpose of the writings of these authors has resulted in controversy about this label.
Therefore, the flamenco jazz scholarly conversation needs more objective writings from an
analytical point of view. This historiographical study presents a more comprehensive evaluation
of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These
analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these
artists went through when combining musical elements from flamenco and jazz, which in some
cases are described as creative misreading. In this century of cultural globalization, where jazz
has become a diverse expression of world music because of its capacity to absorb traits from
other musical practices, this study can be a resource for international jazz musicians who are
seeking to combine jazz with their musical cultural heritage.
Papers by Sergio Pamies
Jazz critics, musicians, and educators have praised the artistry of pianist Wynton Kelly unanimously. However, Kelly’s stylistic traits are yet to receive a diligent and thorough study in an academic setting. This article examines Kelly’s abilities for soloing, comping, as well as rhythm section interplay through transcription and analysis. The results of this research have pedagogical significance for jazz pianists, guiding their study of this artist and ultimately strengthening their abilities as sidemen.
Resumen
Wynton Kelly: un modelo como improvisador, acompañante y de interacción en la sección rítmica.
La figura del pianista Wynton Kelly ha sido alabada por críticos, músicos y docentes de jazz por unanimidad. Sin embargo, los rasgos estilísticos de Kelly aún no han sido objeto de un estudio exhaustivo en el ámbito académico. Este artículo examina las habilidades de Kelly como improvisador, acompañante, así como su capacidad de interacción en la sección rítmica a través de transcripciones y análisis. Los resultados de esta investigación tienen un significado pedagógico para pianistas de jazz, orientando su estudio de este artista, y en última instancia, fortaleciendo sus habilidades como acompañantes.
Book Reviews by Sergio Pamies
By Jeremy Siskind
Fullerton, CA: Jeremy Siskind Music Publishing, 2020.
John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been
associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be
better understood in order to clarify its history, its identity, and its impact on recent
developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the
existing literature on flamenco jazz on the evaluation of these recordings and these artists’
achievements and contributions to this field. These writings encompass authors from different
backgrounds: journalists, critics, and musicologists, who have approached their analysis of the
recordings from different perspectives. The differences in professional backgrounds, approaches,
and purpose of the writings of these authors has resulted in controversy about this label.
Therefore, the flamenco jazz scholarly conversation needs more objective writings from an
analytical point of view. This historiographical study presents a more comprehensive evaluation
of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These
analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these
artists went through when combining musical elements from flamenco and jazz, which in some
cases are described as creative misreading. In this century of cultural globalization, where jazz
has become a diverse expression of world music because of its capacity to absorb traits from
other musical practices, this study can be a resource for international jazz musicians who are
seeking to combine jazz with their musical cultural heritage.
Jazz critics, musicians, and educators have praised the artistry of pianist Wynton Kelly unanimously. However, Kelly’s stylistic traits are yet to receive a diligent and thorough study in an academic setting. This article examines Kelly’s abilities for soloing, comping, as well as rhythm section interplay through transcription and analysis. The results of this research have pedagogical significance for jazz pianists, guiding their study of this artist and ultimately strengthening their abilities as sidemen.
Resumen
Wynton Kelly: un modelo como improvisador, acompañante y de interacción en la sección rítmica.
La figura del pianista Wynton Kelly ha sido alabada por críticos, músicos y docentes de jazz por unanimidad. Sin embargo, los rasgos estilísticos de Kelly aún no han sido objeto de un estudio exhaustivo en el ámbito académico. Este artículo examina las habilidades de Kelly como improvisador, acompañante, así como su capacidad de interacción en la sección rítmica a través de transcripciones y análisis. Los resultados de esta investigación tienen un significado pedagógico para pianistas de jazz, orientando su estudio de este artista, y en última instancia, fortaleciendo sus habilidades como acompañantes.
By Jeremy Siskind
Fullerton, CA: Jeremy Siskind Music Publishing, 2020.